Nobuyuki Tsujii in Recital

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Nobuyuki Tsujii in RecitalJS BACH Italian Concerto, BWV 971MOZART Sonata in B flat, K570BEETHOVEN Moonlight Sonata, Op.27 No.2BEETHOVEN Appassionata Sonata, Op.57Nobuyuki Tsujii piano

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MONDAY 22 MAY, 7PM

CITY RECITAL HALL

NOBUYUKI TSUJII IN RECITALJohann Sebastian Bach (1685–1750) Italian Concerto, BWV 971

[Allegro] Andante Presto

WOLFGANG AMADEUS MOZART (1756–1791) Sonata in B flat major, K570

Allegro Adagio Allegretto

INTERVAL

LUDWIG VAN BEETHOVEN (1770–1827)Sonata, quasi una fantasia in C sharp minor, Op.27 No.2 (Moonlight)

Adagio sostenuto Allegretto Presto agitato

Sonata in F minor, Op.57 (Appassionata)

Allegro assai Andante con moto Allegro, ma non troppo

Pre-concert talk by Scott Davie in the First Floor Reception Room. Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 11 minutes, 20 minutes, 20-minute interval, 16 minutes, 27 minutes. The concert will conclude at approximately 8.55pm.

YUJI

HO

RI

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Japanese pianist Nobuyuki Tsujii (Nobu), who has been blind from birth, was the joint Gold Medal winner at the Van Cliburn International Piano Competition in 2009 and has since earned an international reputation for the passion and excitement he brings to his performances.

He has appeared as a soloist with leading orchestras worldwide, including the Mariinsky Orchestra, Philharmonia Orchestra, BBC Philharmonic, NHK Symphony, Yomiuri Nippon Symphony, Tokyo Symphony and Japan Philharmonic orchestras, Seattle and Baltimore symphony orchestras, Munich Philharmonic, Filarmonica della Scala and Basel Symphony Orchestra, working with conductors such as Valery Gergiev, Vladimir Ashkenazy, Vladimir Spivakov, Juanjo Mena and Thierry Fischer.

As a recitalist, Nobu has performed in major cities across North America, including at Carnegie Hall’s Stern Auditorium, and frequently appears at prestigious European venues such as London’s Royal Albert Hall and the Berlin Philharmonie.

Highlights of the 2016–17 season includes debuts with the Orchestre Philharmonique de Strasbourg in a European tour, a ten-concert tour of Japan with the Chamber Orchestra of Europe, a return engagements with the Deutsches Symphonie-Orchester Berlin and at London’s Wigmore Hall.

His recordings include Rachmaninoff’s Piano Concerto No.2 with Deutsches Symphonie-Orchester Berlin, Tchaikovsky’s Piano Concerto No.1 with Yukata Sado and the BBC Philharmonic, Beethoven’s Piano Concerto No.5 with the Orpheus Chamber Orchestra, and recital discs of Chopin, Mozart, Debussy and Liszt.

A DVD recording of his 2011 Carnegie Hall recital was named DVD of the Month by Gramophone magazine, as was the documentary film by Peter Rosen, Touching the Sound – The Improbable Journey of Nobuyuki Tsujii.

Nobu made his SSO debut performing Beethoven’s Third Piano Concerto with Vladimir Ashkenazy in October 2016, and last week returned to play Chopin’s Piano Concerto No.2.

Nobuyuki Tsujiipiano

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Johann Sebastian Bach (1685–1750) Italian Concerto, BWV 971 (Concerto after the Italian taste)[Allegro] Andante Presto

Swept up in this music’s energy and virtuosity, moved by its expressiveness, we can hardly resist the impulse to dance, then sing, while admiring the display from composer and performer. We say to ourselves ‘this must be what Bach means by concerto’. Then a niggling voice asks ‘can a concerto be for a single instrument?’ and ‘why an Italian concerto? Bach was German…’ This is one of Bach’s best-known and most admired keyboard works, along with the Goldberg Variations. Even Johann Adolf Scheibe, usually the most nitpicking of Bach’s contemporary critics, admitted this Italian Concerto provoked envy and vain imitation: ‘a perfect model of a well-designed solo concerto’. A concerto for just one instrument was not a novelty. The idea of imitating the interplay of solos and tutti (ensemble), one of a concerto’s defining features, was to make a single instrument give the same pleasure as, say, a concerto for violin and strings. When Bach began providing such music for keyboard, the concertos he had in mind would most likely have been by Vivaldi or some similar Italian. While in the service of the Duke of Weimar from 1709 to 1717 Bach transcribed a number of Italian violin concertos, re-creating them at the keyboard to make them concerto-like. Many years later Bach published the only one of his concertos for a single keyboard instrument not based on anyone else’s music. Here’s part of Bach’s title:

Second part of the Keyboard Exercise [Clavier-Übung], consisting of a Concerto after the Italian taste [Italiaenischen Gusto] and an Ouverture in the French manner for a harpsichord with two manuals. Composed for amateurs to delight their spirits by Johann Sebastian Bach…

‘Exercise’ was meant to stretch the player. Two manuals (keyboards) are specified, indicating a big harpsichord, to give richness of sound, but – even more importantly – to make obvious the ‘concerto’ or contest between the few and the many, by contrasts of dynamics and texture. The music as first published in 1735 shows alternating markings of piano (soft) and forte (loud). Often, especially in the slow movement, the solo line is to be played by one hand, the accompaniment by the other. The two parts sometimes nearly bump into each other, so having two manuals makes it easier to keep the hands apart.

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This poses a challenge when playing the music on the piano, but not an insurmountable one. In marking ‘forte’ then ‘piano’, Bach usually meant a change of manual, changing color as well as loudness. Some passages marked ‘forte’ are accompanied, on the other manual, ‘piano’. A pianist needs to find an equivalent on a single keyboard, taking advantage of the expanded range of dynamics for which the ‘pianoforte’ is named. Bach gives instruction as well as pleasure. He juxtaposed an exemplary piece ‘after the Italian taste’ with ‘An Ouverture in the French manner’ (imitating an orchestral French overture and its suite of dances). Both pieces are pure Bach, not arrangements. He had practised well in those splendid transcriptions of concertos by Vivaldi and others. The slow movement (Andante) is like that of a Vivaldi concerto, but emotionally more intense. The solo line is richly elaborated with ornamentation, at is has to be on a non-sustaining keyboard instrument. In the Italian Concerto’s flanking fast movements it may be futile to try to hear frequent alternations of solo and tutti. More obvious, and typically Italian, are the ritornellos: music for the ‘ensemble’ that ‘returns’, separating the more soloistic episodes. The musical textures of this piece demonstrate what Bach understood by a concertante style. He learnt it from Italian concertos, and re-thought it for a single instrument. There are more conversations going on than in Bach’s Italian models, a complex and even surprising argument between the parts. And that’s delightful, for players and listeners alike.

DAVID GARRETT © 2016

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Wolfgang Amadeus Mozart (1756–1791) Sonata in B flat major, K570Allegro Adagio Allegretto

Years before he wrote his first solo piano sonata at the age of 19, the boy Mozart was learning to write concertos by adapting other composer’s keyboard sonatas. This was a smart strategy: although the two genres might seem very different (the ‘domestic’ sonata versus the concerto with its orchestral accompaniment and its function as public display) they shared aesthetic values. So it’s not altogether surprising that tonight’s sonata – one of Mozart’s last – should contain concerto-like features and even a near-quotation from his great C minor piano concerto, K491. And yet this is not a brilliant or flashy sonata. The adjectives it brings to mind are quite the opposite: muted, elegant, pure… Although it’s not exactly ‘easy’ to play, its virtuoso moments are disguised, the impression is one of fluidity and ease rather than difficulties. Among 18th-century music theorists, priority in both the concerto and the sonata was given to the integration of virtuosity and artistry. Johann Adam Hiller, writing shortly before Mozart’s birth, urged composers to ‘express artfully the feelings of the heart’ but without excluding those things that would inspire wonder. ‘Let one use,’ he wrote, ‘in the appropriate place, at the appropriate time, well-chosen leaps, runs, arpeggios and the like.’ At the other end of Mozart’s life, Heinrich Christoph Koch was lamenting that ‘too often a more refined and cultivated expression was replaced by empty noises with many difficulties which left the heart the more unstirred the more the fingers moved’. No one could accuse Mozart of this. If there is brilliance in tonight’s sonata it is to be found in the fine balance that he maintains between display and expression. The simple opening theme of the Allegro is stated in octaves, for example, but not with emphatic, bravura effect, instead it is quiet and delicate. Fleeting, elegant figuration leads into the second theme, which with marvellous economy is based on the first: the opening gesture has been moved to the bass and given a countermelody that suggests the repeated-note ‘Pa-pa-pa-papageno’ motif from The Magic Flute. There is a prevailing sense of conversational dialogue between the hands; the first dramatic moment of the ‘theatrical’ variety occurs at the beginning of the development when Mozart plunges the music into the relatively remote key of D flat major.

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A sonata for piano alone

Alfred Einstein declared K570 the ‘most completely rounded’ and ‘the ideal’ of Mozart’s piano sonatas. Yet this sonata is rarely heard in piano recitals, and for a long time it was often omitted from collected editions of Mozart’s sonatas.

Perhaps the blame for this lies in part with the circumstances of its first publication. The sonata was composed in February 1789, but not published until 1796, five years after Mozart’s death, when the Viennese publisher Artaria released it as a ‘Sonata for harpsichord or piano with the accompaniment of a violin’.

No one knows how it reached Artaria or who added what would have been a very old-fashioned obbligato violin part, but Mozart’s own catalogue lists it not just as a sonata but as ‘a sonata for piano alone’. It was in fact published a few years later in Hamburg as a solo sonata, but the damage had been done, and the violin version persisted into the 20th century.

When Artur Schnabel famously said, ‘The sonatas of Mozart are unique; they are too easy for children, too difficult for artists,’ he could have been thinking of K570. In particular, its unusually long slow movement tests musicianship and imagination. The mood is calmly introspective and, as with the first movement, the opening is simple, almost ‘mundane’: a solemn descending horn call. Having avoided rich textures in the first movement in favour of mainly two-voice writing, Mozart treats the Adagio as a duo with accompanying bass line. The structure (unusually for a slow movement) is a rondo, with three refrains separated by two contrasting episodes. It’s in the first of these episodes that Mozart shifts to C minor and introduces a theme that’s almost a direct quote from the slow movement of the Piano Concerto in C minor, K491. As other writers have observed, it’s easy to imagine repeats of that quotation played by a woodwind section. Later, in the second episode, the theme sounds like something Mozart would have written for clarinet, and throughout there is a strong feeling of solo statement and ensemble repeat, as in many of the slow movements of Mozart’s mature Viennese concertos. The concerto spirit continues in the vivacious and graceful third movement (Allegretto). Here the appearance of the rondo structure (although slightly abridged) is exactly what Mozart’s listeners would have expected for a concerto finale. The refrain sparkles with a slightly breathless right hand part above the rocking of a classic Alberti bass. Mozart plays with contrasts between the two voices: sometimes freely leaping, sometimes moving cautiously; conservative harmonic outlines against intriguing dissonances. In the episodes there are more evocations of woodwind writing and hints of The Magic Flute to come. The relatively subdued character of the sonata’s beginning has been abandoned for the good-humoured vibe of comic opera. But even in this cheerful finale there is a simplicity and subtlety of means that marks this as a sonata where expression rules over empty display.

YVONNE FRINDLE SYDNEY SYMPHONY ORCHESTRA © 2017

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Orli Shaham in RecitalA recital inspired by one of the great Romantic composers, Brahms, to include:

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High NoonOrli Shaham stars in this sublime program directed by SSO Concertmaster Andrew Haveron

MOZART Piano Concerto No.24 in C minor, K491 HAYDN Symphony No.7, Noon

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STRAVINSKY Funeral Song Australian premiere BEETHOVEN Piano Concerto No.1 FALLA The Three-Cornered Hat: Suites RAVEL La Valse

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Ludwig van Beethoven (1770–1727) Sonata, quasi una fantasia in C sharp minor, Op.27 No.2 (Moonlight)Adagio sostenuto Allegretto Presto agitato

In November 1792 the 21-year-old Beethoven departed provincial Bonn for Vienna, to receive, in the words of Count Waldstein, ‘Mozart’s spirit from the hands of Haydn’. He arrived the inheritor of a musical language and symphonic style that was rapidly changing. An 18th-century musician could claim a common musical language, but the gradual emergence in the 19th century of independent composers as free professionals resulted in a scuffle for novelty, for the establishment of a personal idiom. The implications were profound and have been sustained into our own time. First, in the absence of a common idiom, sheer facility was compromised – where Mozart might have written three symphonies in as many months, Beethoven could easily wrestle for years on just one work. More important, it quickly became apparent that novelty brings with it difficulties for the performer and increases demands on the listener – a composer could easily move too far ahead of public taste and understanding. Beethoven quickly found fame as a pianist, particularly as an improviser, and enjoyed strong support from Vienna’s aristocratic circles, willing to cultivate an innovative composer who matched their romantic aspirations. The first of his patrons was Prince Karl Lichnowsky, whose palace was an important venue for music-making. For much of the 1790s the palace could boast Beethoven as a leading, resident attraction, and it was for the Prince that Beethoven completed his Opus 1 piano trios (1793) – the first important pieces of his musical maturity. Although it would be a further five years before Beethoven presented his first symphony to the public, he was winning hearts with chamber music, concertos and his own dynamic personality as a performer. Beethoven was in his element at the piano. A virtuoso capable of holding his own in fashionable and highly publicised piano duels, he was especially renowned for his improvisations. Freedom of thought and structural inventiveness were all possible in the improvised free fantasia. When Beethoven wished to adopt a particularly original approach in a piano it made sense to dub it Sonata ‘quasi una fantasia’ (in the style of a fantasia), as he did in his popular but unorthodox ‘Moonlight’ Sonata. In 1801 it was still relatively unusual to provide pedalling instructions in piano music, so Beethoven’s (Italian) instructions for the Moonlight Sonata are especially striking, translating as:

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‘this piece must be played throughout with the greatest delicacy and without dampers [senza sordino]’. In other words, we are told that the dampers are to be raised – or, expressed another way, the pedal depressed – for the entire movement. Beethoven’s intent is a blurred sound, as the accumulating reverberations of undamped harmonies overlap. (It would be an audacious pianist today who held a Steinway pedal down without relief for the entire movement as directed, but it is still possible to strive for the impressionistic effect that would have emerged on the lighter Viennese pianos of Beethoven’s time.) One of Vienna’s leading piano builders thrilled to this exotic effect:

Now in pianissimo, through [the raising of the dampers] he creates the most tender tone of the glass harmonica. How pure, how like a flute, the treble notes sound while the left hand plays consonant chords against them! How full the sound of the bass which is played with elastic lightness!’

With these words Andreas Streicher could almost have been describing the first movement of Beethoven’s Moonlight Sonata, completed in the same year. While this movement conforms to all the thematic and harmonic requirements of sonata form, the homogeneity of texture, unfolding from an undulating triplet accompaniment figure, diverts attention from the tensions and drama of the sonata principle and instead emphasises the floating tranquillity of this nocturnal fantasia. This is Chopin circa 1801. From this uncharacteristically slow and delicate first movement Beethoven moves headlong into a jewel-like scherzo and then a restless and powerful finale, the ‘real’ sonata movement placed last. The Moonlight Sonata shows the 30-year-old Beethoven at his most fantastic, already throwing conservative models to the wind.

YVONNE FRINDLE © 2001

The first page from the manuscript of Beethoven’s ‘Moonlight’ sonata. The diagonal strokes are his shorthand to indicate the ever-repeating triplet chords that provide the underlying texture for the music – he only writes out the notes when the harmony changes.

MOONLIGHT

The ‘Moonlight’ name is not Beethoven’s. It dates from after his lifetime when, in 1832, the German music critic Ludwig Rellstab compared the first movement to ‘a boat passing the wild scenery of Lake Lucerne in the moonlight’. It wasn’t long before German publications were referring to it as the Mondscheinsonata and the English followed suit. By the time the sonata was a hundred years old, ‘Moonlight Sonata’– appealing and apt – had become its (un)official nickname.

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Beethoven Sonata in F minor, Op.57 (Appassionata)Allegro assai Andante con moto Allegro ma non troppo

Ferdinand Ries’s description of the genesis of the last movement of the Opus 57 sonata gives an apt insight into the fusion between composition and keyboard improvisation.

During a similar walk in which we went so far astray that we did not get back to Döbling, where Beethoven lived, until nearly 8 o’clock. He had been all the time humming and sometimes howling, always up and down, without singing any definite notes. In answer to my question what it was he said: ‘A theme for the last movement of the sonata has occurred to me’ (in F minor Op.57). When we entered the room he ran to the pianoforte without taking off his hat, I took a seat in the corner and he soon forgot all about me. He stormed on for at least an hour with the new finale which is so beautiful. Finally he got up, was surprised still to see me still there and said: ‘I cannot give you a lesson today. I still have work to do.’

The subtitle ‘Appassionata’, so inextricably linked to this work, was not Beethoven’s but was added by a publisher in 1838 in an arrangement of the work for piano duet. Carl Czerny took strong exception saying that Beethoven considered it his greatest work before the Hammerklavier sonata (1817–18) and that the title would be more appropriate for the Sonata in E flat, Op.7, because Beethoven was in a more passionate mood when he wrote it. This second comment is distinctly odd on two counts. First, Czerny was only five years old when Opus 7 was written, and since he first met Beethoven at the age of ten, his ability to measure the passion of Beethoven’s mood during the composition of Opus 7 needs to be questioned. Second, if passionate moods provide an excuse for kitsch subtitles, Beethoven’s letters suggest that Opus 57 would probably qualify, since this was the period of his apparently unrequited infatuation with Josephine Deym (née Brunsvik), once put forward as the unidentified ‘Immortal Beloved’ of Beethoven’s most famous letter (the Appassionata was eventually dedicated to Josephine’s brother, Franz). The period of its composition also coincides with his work on the opera Leonore (later Fidelio). The sonata was started in 1804 and, although not published until 1807, it appears to have been finished by 1806 in time for the autograph to be almost destroyed in rain storm on a trip home from Silesia after Beethoven had had a towering row with one of his patrons, Prince Lichnowsky. The autograph today still bears the evidence of rain damage.

Portrait of Beethoven by Isidor Neugass, probably completed in the same year as the Appassionata. It was intended to be sent to Josephine Deym and for a time was held in one of the Brunsvik castles.

Beethoven ‘had been all the time humming and sometimes howling, always up and down, without singing any definite notes. In answer to my question what it was he said: “A theme for the last movement of the sonata has occurred to me.”’

FERDINAND RIES

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Although Beethoven’s evaluation of the sonata, as reported by Czerny, would be justified by the immense power of the work, which remains undiminished today despite its frequent exposure, it is interesting to note that all the sonatas which Beethoven is alleged to have called his ‘greatest’ at some stage or other (the Hammerklavier sonata, Op.106, and the final three, Opp. 109, 110 and 111) share the quality of thematic unity and integration between their movements to a high degree. In the case of the Appassionata, the outer movements share many common features – characteristic harmonic moves particularly to the chord referred to in harmony textbooks as the ‘Neapolitan sixth’, small two-note motives especially those revolving around the notes D flat and C, general moods of agitation and turmoil, and climaxes of tragic or catastrophic proportions in their closing pages. Indeed one could almost see the finale as a rewriting of the first movement as though some kind of decisive realisation had been reached in the calm, prayer-like slow movement. The notion that such close parallels developed through spontaneous improvisation as described by Ries above, provides a profound insight into Beethoven’s creative process and psychology. The slow movement itself is no less remarkable for its repose between such agitation. At the beginning one might almost think that the melody on which the variations are to be

The autograph score of Beethoven’s Op.57 sonata bears the evidence of rain damage – it was nearly destroyed in a storm during a journey in 1806.

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MORE MUSIC

NOBUYUKI TSUJII

Nobu’s most recent releases are DVD and blu-ray recordings of his 2011 Carnegie Hall recital (including music by Beethoven and Liszt as well as Mussorgsky’s Pictures at an Exhibition), and his appearance in the 2012 St Petersburg White Nights Festival, where he performed Tchaikovsky’s First Piano Concerto with Valery Gergiev and the Mariinsky Theatre Orchestra. The Beethoven in his recital is the Op.31 No.2 ‘Tempest’ sonata. These are available on the Euroarts label, individually and in a 3-disc collection (DVD only) that also includes the documentary film Touching the Sound.EUROARTS 206 1268

Last week Nobuyuki Tsujii’s performed Chopin’s Piano Concerto No.2 with the SSO and this will be broadcast by ABC Classic FM on 28 May (see the Broadcast Diary). You can also hear him playing Piano Concerto No.1 with the Fort Worth Symphony Orchestra and conductor James Conlon, in an album that was released following his success in the Van Cliburn competition. It also includes solo music by Chopin, recorded during the competition.HARMONIA MUNDI 907547

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOURTuesday 13 June, 6pmMusicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.finemusicfm.com

Broadcast DiaryMay–June

abc.net.au/classic

Saturday 27 May, noonMORNING INSPIRATIONAndrew Haveron violin-directorRoger Benedict violaHaydn, Mozart

Sunday 28 May, noonNOBUYUKI TSUJII PLAYS CHOPINBramwell Tovey conductorNobuyuji Tsujii pianoBerlioz, Chopin, Dvořák

based is going to restrict itself largely to one note! Equally masterly is its gradual ascent over the whole movement, in more animated notes to its highest pitch, D flat, which is then, almost literally torn down just at the final cadence and thrown down into the abyss of the last movement.

© PETER MCCALLUM

Ferdinand Ries quotation from Beethoven Remembered: The biographical notes of Franz Wegeler and Ferdinand Ries, translated by Frederick Noonan (1987)

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The City of Sydney is a Principal Sponsor of City Recital Hall

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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the SSO also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence.

Well on its way to becoming the premier orchestra of the Asia Pacific region, the SSO has toured China on four occasions, and in 2014 won the arts category in the Australian Government’s inaugural Australia-China Achievement Awards, recognising ground-breaking work in nurturing the cultural and artistic relationship between the two nations.

The orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux,

Sir Charles Mackerras, Zdeněk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’s award-winning Learning and Engagement program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and commissions. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul Stanhope and Georges Lentz, and recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.

Other releases on the SSO Live label, established in 2006, include performances conducted by Alexander Lazarev, Sir Charles Mackerras and David Robertson, as well as the complete Mahler symphonies conducted by Vladimir Ashkenazy.

This is David Robertson’s fourth year as Chief Conductor and Artistic Director.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes

EXECUTIVE ADMINISTRATORHelen Maxwell

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGRaff Wilson

ARTISTIC ADMINISTRATION MANAGER Eleasha Mah

ARTIST LIAISON MANAGERIlmar Leetberg

TECHNICAL MEDIA PRODUCER Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING & ENGAGEMENT Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin

EDUCATION MANAGER Amy WalshTim Walsh

EDUCATION OFFICER Laura Andrew

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert

ORCHESTRA MANAGERRachel Whealy

ORCHESTRA COORDINATOR Rosie Marks-Smith

OPERATIONS MANAGER Kerry-Anne Cook

HEAD OF PRODUCTION Jack Woods

STAGE MANAGERSuzanne Large

PRODUCTION COORDINATORSElissa SeedBrendon Taylor

HEAD OF COMMERCIAL PROGRAMMINGMark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETINGMark J Elliott

SENIOR SALES & MARKETING MANAGERPenny Evans

MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES Matthew Rive

MARKETING MANAGER, CRM & DATABASEMatthew Hodge

DATABASE ANALYSTDavid Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster

GRAPHIC DESIGNERTessa Conn

MARKETING MANAGER, DIGITAL & ONLINE Meera Gooley

SENIOR ONLINE MARKETING COORDINATORJenny Sargant

MARKETING COORDINATORDoug Emery

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONSLynn McLaughlin

BOX OFFICE SALES & SYSTEMS MANAGER Emma Burgess

CUSTOMER SERVICE REPRESENTATIVES Rosie BakerMichael DowlingShareeka Helaluddin

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Rosemary Swift

PHILANTHROPY MANAGERJennifer Drysdale

PATRONS EXECUTIVESarah Morrisby

TRUSTS & FOUNDATIONS OFFICERSally-Anne Biggins

PHILANTHROPY COORDINATORClaire Whittle

Corporate RelationsHEAD OF CORPORATE RELATIONS Patricia Noeppel-Detmold

CORPORATE RELATIONS COORDINATORBenjamin Moh

CommunicationsHEAD OF COMMUNICATIONS

Bridget Cormack

PUBLIC RELATIONS MANAGERCaitlin Benetatos

MULTIMEDIA CONTENT PRODUCERDaniela Testa

BUSINESS SERVICES

DIRECTOR OF FINANCE John Horn

FINANCE MANAGER Ruth Tolentino

ACCOUNTANT Minerva Prescott

ACCOUNTS ASSISTANT Emma Ferrer

PAYROLL OFFICER Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL Michel Maree Hryce

BEHIND THE SCENES

Terrey Arcus AM Chairman Andrew BaxterEwen Crouch AM

Catherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Karen MosesJohn Vallance

Sydney Symphony Orchestra Board

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon. John Della Bosca MLC

John C Conde AO

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Robert JoannidesSimon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE

Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Dene OldingLeo Schofield AM

Peter Weiss AO

Anthony Whelan MBE

Concertmasters EmeritusDonald Hazelwood AO OBE

Dene Olding

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SSO PATRONS

Maestro’s Circle

Peter Weiss AO Founding President & Doris WeissTerrey Arcus AM Chairman & Anne ArcusBrian AbelTom Breen & Rachel KohnThe Berg Family FoundationJohn C Conde AO

Michael Crouch AO & Shanny CrouchVicki OlssonDrs Keith & Eileen OngRuth & Bob MagidRoslyn Packer AC

Kenneth R Reed AM

David Robertson & Orli ShahamPenelope Seidler AM

Mr Fred Street AM & Dorothy StreetBrian White AO & Rosemary WhiteRay Wilson OAM in memory of the late James Agapitos OAM

Anonymous (1)

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

David Robertson

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Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Carolyn HarrisFluteDr Barry Landa Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Claire HerrickViolinMary & Russell McMurray Chair

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Nicole MastersSecond ViolinNora Goodridge Chair

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Andrew HaveronConcertmasterVicki Olsson Chair

Brett DeanArtist in ResidenceGeoff Ainsworth AM & Johanna Featherstone Chair

Toby ThatcherAssistant ConductorSupported by Rachel & Geoffrey O’Connor and Symphony Services International

Kees BoersmaPrincipal Double BassSSO Council Chair

Francesco CelataActing Principal ClarinetKaren Moses Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Kristy ConrauCelloJames Graham AM & Helen Graham Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM CALL (02) 8215 4625

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James and Leonie Furber have been SSO subscribers for more than 40 years and love the complex role the horn plays in orchestral music. So when the chance arose to support Robert Johnson’s chair, they were thrilled to take the opportunity. Over the years they’ve enjoyed getting to know Robert and exploring James’s eclectic music collection together.

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Elizabeth NevilleCelloRuth & Bob Magid Chair

Mark RobinsonAssistant Principal TimpaniRodney Rosenblum Memorial Chair

Emma ShollActing Principal FluteRobert & Janet Constable Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

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fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsIn Memory of Joyce Sproat Viola ChairMrs W Stening Cello ChairsJune & Alan Woods Family Bequest Bassoon ChairAnonymous Oboe ChairAnonymous Trumpet ChairAnonymous Trombone ChairAnonymous Double Bass Chair

fellowship supporting patronsBronze Patrons & above

Mr Stephen J BellDr Rebecca ChinThe Greatorex FoundationGabriel LopataThe Dr Lee MacCormick Edwards Charitable FoundationDrs Eileen & Keith OngIn Memory of Geoff White

tuned-up!Bronze Patrons & above

Antoinette Albert Anne Arcus & Terrey Arcus AM

Ian & Jennifer Burton Darin Cooper FoundationIan Dickson & Reg HollowayDrs Keith & Eileen OngTony StrachanSusan & Isaac Wakil

major education donorsBronze Patrons & above

Beverley & Phil BirnbaumBob & Julie ClampettHoward & Maureen ConnorsKimberley HoldenBarbara MaidmentMr & Mrs Nigel PriceMr Dougall SquairMr Robert & Mrs Rosemary WalshAnonymous (1)

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Sydney Symphony Orchestra 2017 Fellows The Fellowship program receives generous support from the Estate of the late Helen MacDonnell Morgan

Learning & Engagement

SSO PATRONS

Commissioning CircleSupporting the creation of new works

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM & Johanna FeatherstoneDr Raji AmbikairajahChristine BishopJennifer DrysdaleDr John EdmondsPeter HowardAndrew Kaldor AM & Renata Kaldor AO

Gary Linnane & Peter BraithwaiteGabriel LopataJustice Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonEdmund OngCaroline & Tim RogersGeoff StearnRosemary SwiftDr Richard T WhiteAnonymous

Foundations

Piano Clubsonata patronsJustice Jane Mathews AO

Tony StrachanMary Whelan & Rob Baulderstone prelude patrons Dr Jan Grose OAM

Judith & Roderick Morton minuet patronsPaul BalkusNorma LopataDanny MayLourdes & Spencer WhiteAnonymous

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DIAMOND PATRONS $50,000 and aboveGeoff Ainsworth AM & Johanna FeatherstoneAnne Arcus & Terrey Arcus AM

The Berg Family FoundationTom Breen & Rachael KohnMr John C Conde AO

Mr Frank Lowy AC & Mrs Shirley Lowy OAM

Vicki OlssonRoslyn Packer AC

Kenneth R Reed AM

Paul Salteri AM & Sandra SalteriPeter Weiss AO & Doris WeissMr Brian White AO & Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Brian AbelRobert & Janet ConstableMichael Crouch AO & Shanny CrouchRuth & Bob MagidJustice Jane Mathews AO

David Robertson & Orli ShahamMrs W SteningSusan & Isaac WakilAnonymous (1)

GOLD PATRONS $20,000–$29,999Antoinette AlbertRobert Albert AO & Elizabeth AlbertDoug & Alison BattersbyBennelong Arts FoundationChristine BishopSandra & Neil BurnsMr Andrew Kaldor AM & Mrs Renata Kaldor AO

I KallinikosRussell & Mary McMurrayMrs T Merewether OAM

Karen MosesRachel & Geoffrey O’ConorDrs Keith & Eileen OngMrs Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetRay Wilson OAM in memory of James Agapitos OAM

Anonymous (1)

SILVER PATRONS $10,000–$19,999Ainsworth FoundationAudrey BlundenDr Hannes & Mrs Barbara BoshoffMr Robert & Mrs L Alison CarrThe Hon. Ashley Dawson-DamerIan Dickson & Reg HollowayEdward & Diane FedermanNora GoodridgeMr James Graham AM & Mrs Helen GrahamMr Ross GrantKimberley HoldenDr Gary Holmes & Dr Anne ReeckmannJim & Kim JobsonStephen Johns & Michele BenderSimon JohnsonDr Barry LandaMarianne LesnieHelen Lynch AM & Helen BauerSusan Maple-Brown AM

Judith A McKernanThe Hon. Justice A J Meagher & Mrs Fran MeagherMr John MorschelAndy & Deirdre PlummerGarry & Shiva RichSylvia RosenblumRod Sims & Alison PertTony StrachanJudy & Sam WeissCaroline WilkinsonKim Williams AM & Catherine DoveyJune & Alan Woods Family BequestAnonymous (2)

BRONZE PATRONS $5,000–$9,999Dr Raji AmbikairajahMr Henri W Aram OAM & Mrs Robin AramStephen J BellBeverley & Phil BirnbaumBoyarsky Family TrustDaniel & Drina BrezniakMrs P M Bridges OBE

Ian & Jennifer BurtonLionel ChanDr Diana ChoquetteBob & Julie ClampettHoward ConnorsDarin Cooper FoundationEwen Crouch AM & Catherine Crouch

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.

Playing Your Part

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO

The late Mrs Lenore AdamsonEstate of Carolyn ClampettEstate of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephEstate of Matthew KrelEstate of Helen MacDonnell MorganThe late Greta C RyanEstate of Rex Foster SmartEstate of Joyce SproatJune & Alan Woods Family Bequest

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IF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT OUR PHILANTHROPY TEAM ON 8215 4625.

Warwick K AndersonMr Henri W Aram OAM & Mrs Robin AramTimothy BallStephen J BellChristine BishopMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisGlenys FitzpatrickDr Stephen Freiberg Jennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Dr Barry LandaPeter Lazar AM

Daniel LemesleArdelle LohanLinda LorenzaLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsDr Richard SpurwayMary Vallentine AO

Ray Wilson OAM

Anonymous (37)

Honouring the legacy of Stuart Challender

SSO Bequest Society

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SSO PATRONS

Playing Your Part Mr Geoff FitzgeraldMr Richard FlanaganDr Stephen Freiberg & Donald CampbellJames & Leonie FurberDr Colin GoldschmidtThe Greatorex FoundationWarren GreenThe Hilmer Family EndowmentMr Ervin KatzThe Hon. Paul KeatingIn memoriam Dr Reg Lam-Po-TangGabriel LopataMora MaxwellRobert McDougallMr Taine & Mrs Sarah MoufarrigeMs Jackie O’BrienMr & Mrs Nigel PriceChris Robertson & Katherine ShawManfred & Linda SalamonMr Dougall SquairGeoff StearnJohn & Jo StruttRosemary SwiftMr Robert & Mrs Rosemary WalshMary Whelan & Rob BaulderstoneIn memory of Geoff White

PRESTO PATRONS $2,500–$4,999David BarnesRoslynne BracherIn memory of R W BurleyCheung FamilyMr B & Mrs M ColesDr Paul CollettAndrew & Barbara DoweProf. Neville Wills & Ian FenwickeAnthony GreggJames & Yvonne HochrothMr Roger Hudson & Mrs Claudia Rossi-HudsonDr & Mrs Michael HunterProf. Andrew Korda AM & Ms Susan PearsonA/ Prof. Winston Liauw & Mrs Ellen LiauwPeter Braithwaite & Gary LinnaneMrs Alexandra Martin & the Late Mr Lloyd Martin AM

Helen & Phil MeddingsJames & Elsie MooreAndrew Patterson & Steven BardyErnest & Judith RapeePatricia H Reid Endowment Pty LtdLesley & Andrew RosenbergIn memory of H St P Scarlett

Helen & Sam ShefferMr Russell Van Howe & Mr Simon BeetsJohn & Akky van OgtropMr Robert VeelDr Alla WaldmanThe Hon. Justice A G WhealyYim Family FoundationDr John Yu AC

Anonymous (2)

VIVACE PATRONS $1,000–$2,499Mrs Lenore AdamsonRae & David AllenAndrew Andersons AO

Mr Matthew AndrewsMr Garry & Mrs Tricia AshJohn Augustus & Kim RyrieIn memory of Toby AventMr Michael BallDr Richard & Mrs Margaret BellMs Baiba BerzinsE S BowmanIn memory of Rosemary Boyle, Music TeacherMrs H BreekveldtMr David & Mrs Halina BrettDebby Cramer & Bill CaukillMD Chapman AM & Mrs JM ChapmanNorman & Suellen ChapmanJoan Connery OAM & Max Connery OAM

Greta DavisLisa & Miro DavisMr Stuart DonaldsonProf. Jenny EdwardsDr Rupert C EdwardsMr Malcolm Ellis & Ms Erin O’NeillMrs Margaret EppsJulie FlynnMichele Gannon-MillerClive & Jenny GoodwinMichael & Rochelle GootIn memory of Angelica GreenAkiko GregoryDr Jan Grose OAM

Mr & Mrs Harold & Althea HallidayJanette HamiltonV HartsteinSandra HaslamSue HewittDr Lybus HillmanDorothy Hoddinott AO

Mrs Yvonne HolmesMr Peter HowardMs Miriam HuntMrs Margaret JohnstonDr Owen Jones & Ms Vivienne GoldschmidtFran & Dave KallawayMr Justin LamL M B Lamprati

Beatrice LangMr Peter Lazar AM

Roland LeeAnthony & Sharon Lee FoundationAirdrie LloydMrs Juliet LockhartLinda LorenzaPeter Lowry OAM & Carolyn Lowry OAM

Barbara MaidmentDavid Maloney AM & Erin FlahertyJohn & Sophia MarDanny MayKevin & Deidre McCannIan & Pam McGawMatthew McInnesKim Harding & Irene MillerHenry & Ursula MooserMilja & David MorrisJudith MulveneyMs Yvonne Newhouse & Mr Henry BrenderMr & Mrs NewmanMr Darrol NormanJudith OlsenMr Edmund OngMr & Mrs OrtisDr Dominic PakA Willmers & R PalMrs Faye ParkerIn memory of Sandra Paul PottingerMark PearsonMr Stephen PerkinsAlmut PiattiPeter & Susan PicklesErika PidcockD E PiddDr John I PittMrs Greeba PritchardThe Hon. Dr Rodney Purvis AM QC & Mrs Marian PurvisDr Raffi Qasabian & Dr John WynterMr Patrick Quinn-GrahamAnna RoIn memory of Katherine RobertsonMr Judy RoughChristine Rowell-MillerMr Shah RusitiAnn RyanJorie Ryan for Meredith RyanMr Kenneth RyanGarry E Scarf & Morgie BlaxillJuliana SchaefferIn memory of Lorna WrightGeorge & Mary ShadDavid & Daniela ShannonMs Kathleen ShawMarlene & Spencer SimmonsVictoria SmythMrs Yvonne SontagJudith Southam

In memory of Lance BennettMrs W G KeighleyTitia SpragueAshley & Aveen StephensonThe Hon. Brian Sully AM QC

Mildred TeitlerHeng & Cilla TeyMr David FC Thomas & Mrs Katerina ThomasPeter & Jane ThorntonKevin TroyJudge Robyn TupmanMr Ken UnsworthIn memory of Denis WallisHenry & Ruth WeinbergJerry WhitcombMrs M J WhittonBetty WilkenfeldDr Edward J WillsAnn & Brooks C Wilson AM

Dr Richard WingMr Evan Wong & Ms Maura CordialDr Peter Wong & Mrs Emmy K WongLindsay & Margaret WoolveridgeMr John WottonJill Hickson AM

Ms Josette WunderAnonymous (16)

ALLEGRO PATRONS $500–$999Mr Nick AndrewsMr Ariel BalagueJoy BalkindMr Paul BalkusTony BarnettSimon BathgateMs Jan BellMr Chris BennettElizabeth BeveridgeMinnie BiggsJane BlackmoreAllan & Julie BlighMrs Judith BloxhamDr Margaret BoothCommander W J Brash OBE

R D & L M BroadfootDr Tracy BryanProf. David Bryant OAM

Dr Miles BurgessMrs Christine BurkePat & Jenny BurnettMrs Anne CahillHugh & Hilary CairnsMisa Carter-SmithMrs Stella ChenJonathan ChissickMs Simone ChuahIn memory of L & R CollinsPhillip Cornwell & Cecilia RiceDom Cottam & Kanako ImamuraMr Tony CowleyMr David Cross

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Diana DalyMs Anthoula DanilatosGeoff & Christine DavidsonMark Dempsey & Jodi SteeleDr David DixonSusan DoenauE DonatiMr George DowlingMs Margaret DunstanDana DupereNita & James DurhamJohn FavaloroMrs Lesley FinnMr & Mrs Alexander FischlMs Lee GallowayMs Lyn GearingPeter & Denise GoldingMrs Lianne GrafMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin AM

In memory of Beth HarpleyRobert HavardMrs Joan HenleyDr Annemarie Hennessy AM

Roger HenningMrs Jennifer HershonIn memory of my father, Emil HiltonA & J HimmelhochMr Aidan HughesMr & Mrs Robert M HughesSusie & Geoff IsraelDr Mary JohnssonMr Michael JonesMr Ron Kelly & Ms Lynne FrolichMargaret KeoghIn memory of Bernard M H KhawDr Henry KilhamJennifer KingMrs Patricia KleinhansMr & Mrs Gilles KrygerThe Laing FamilyMs Sonia LalDavid & Val LandaMr Patrick LaneElaine M LangshawDr Allan LaughlinClaude & Valerie LecomteMargaret LedermanPeter Leow & Sue ChoongMrs Erna LevyMrs Helen LittleMrs A LohanPanee LowMelvyn MadiganMrs Silvana MantellatoDaniel & Anna MarcusM J MashfordMs Jolanta MasojadaMr Guido MayerKevin & Susan McCabe

Mrs Evelyn MeaneyLouise MillerMr John MitchellKenneth Newton MitchellP MullerAlan Hauserman & Janet NashMrs Janet & Mr Michael NeusteinMr Graham NorthMiss Lesley NorthProf. Mike O’Connor AM

Paul O’DonnellDr Kevin PedemontDr Natalie E PelhamJohn Porter & Annie Wesley-SmithMichael QuaileyMr Graham QuintonMr David RobinsonAlec & Rosemary RocheMr Bernard RofeMrs Audrey SandersonMrs Solange SchulzLucille SealePeter & Virginia ShawDavid & Alison ShilligtonL & V ShoreMrs Diane Shteinman AM

Margaret SikoraJan & Ian SloanMaureen SmithAnn & Roger SmithMs Tatiana SokolovaCharles SolomanRobert SpryMs Donna St ClairRuth StaplesDr Vladan StarcevicFiona StewartMr & Mrs W D SuthersMr Ludovic TheauAlma TooheyVictoria TothGillian Turner & Rob BishopRoss TzannesMr Thierry VancaillieMrs & Mr Jan WaddingtonMs Lynette WalkerRonald WalledgeMs Theanne WaltersMr Michael WatsonMr John Whittle SC

Peter WilliamsonM WilsonDr Wayne WongSir Robert WoodsMs Roberta WoolcottDawn & Graham WarnerMs Lee WrightPaul WyckaertAnne YabsleyMrs Robin YabsleyAnonymous (36)

SSO Patrons pages correct as of 1 January 2016

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyAlexandra McGuiganOscar McMahonBede MooreTaine Moufarrige Founding PatronShefali PryorSeamus Robert Quick Founding PatronChris Robertson & Katherine Shaw Founding Patrons

VANGUARD MEMBERSLaird Abernethy Elizabeth AdamsonXander AddingtonClare Ainsworth-HerschellSimon AndrewsCharles ArcusPhoebe ArcusLuan AtkinsonDushko Bajic Supporting PatronScott BarlowMeg BartholomewJames BaudzusAndrew BaxterBelinda BessonJames BessonDr Jade BondDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProf Attila BrungsCBREJacqueline ChalmersTony ChalmersDharmendra ChandranEnrique Antonio Chavez SalcedaLouis ChienColin ClarkeAnthony CohenPaul ColganNatasha CookClaire CooperMichelle CottrellRobbie CranfieldPeter CreedenAsha CugatiJuliet CurtinPaul DeschampsCatherine DonnellyJennifer DrysdaleKaren EwelsRoslyn Farrar Rob FearnleyTalitha FishburnAlexandra GibsonSam GiddingsJeremy GoffMichael & Kerry Gonski

Lisa GoochHilary GoodsonTony GriersonSarah L HesseKathryn HiggsPeter HowardJennifer HoyKatie HryceJames HudsonJacqui HuntingtonMatt JamesAmelia JohnsonVirginia JudgePaul KalmarBernard KeaneTisha KelemenAernout KerbertPatrick KokAngela KwanJohn Lam-Po-TangRobert LarosaBen LeesonGary LinnaneGabriel LopataAmy MatthewsRobert McGroryElizabeth MillerMatt MilsomDean MontgomeryMarcus & Fern MoufarrigeSarah MoufarrigeJulia NewbouldNick NichlesEdmund OngOlivia PascoeJonathan PerkinsonStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezProf. Anthony Michael SchembriBenjamin SchwartzBen ShipleyToni SinclairPatrick SlatteryTim SteeleKristina StefanovaBen SweetenRandal TameSandra TangIan TaylorCathy ThorpeMichael TidballMark TrevarthenMichael TuffyRussell van Howe & Mr Simon BeetsSarah VickMike WatsonAlan WattersJon WilkieAdrian WilsonYvonne Zammit

SSO Vanguard

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SALUTE

PREMIER PARTNER

MAJOR PARTNERSPLATINUM PARTNER

GOLD PARTNERS

SILVER PARTNERS

OFFICIAL CAR PARTNER TECHNOLOGY PARTNER

REGIONAL TOUR PARTNERMEDIA PARTNERS VANGUARD PARTNER

PRINCIPAL PARTNER

The Sydney Symphony Orchestra is assisted by the Commonwealth

Government through the Australia Council, its arts funding and

advisory body.

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW.

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